The current debate on reproduction and architectural publication has established new terms for the examination of architectural photographs.
No longer treated simply as a species of architectural documentation-such as renderings or plans- photographs of buildings are acknowledged as
sharing in the cultural power of the photographic medium and must consequently be examined as a form of social production. The publication of Richard Neutra's 1946 Kaufmann house reveals the power of the print media in the establishment
of an architectural canon; moreover Neutra's habit
of reworking photographs of his built designs
suggests the appropriateness of reexamining his
contribution to the legacy of involving photography
and the media in the architectural process.

The Cornell Box serves as a visual emblem of the divide between arts and sciences first articulated by C. P. Snow over 40 years ago. To historians of American Art, "Cornell Box" refers to the shadow boxes of Joseph Cornell; in the world of computer graphics, the Cornell Box is the evaluative environment in which the Cornell University Program of Computer Graphics refined its radiosity rendering algorithms. Considering both boxes with reference to the perceptual thought of James J. Gibson allows us to generate a site for collaboration at the intersection of light and art for designers and computer scientists devoted to the development of new digital media.

This paper reports the value of On the Spot Experiments with
self-produced content and the use of technology within
healthcare. On the Spot Experiments are experiments conducted
in the setting of on going clinical work and patient care. We begin
by relating our work to approaches within ethnography and work
place studies which link ethnography and design. Thereafter we
describe how we have carried out On the Spot Experiments in two
projects where we have explored the possibilities of self-produced
learning material. The first project described is within an
intensive care unit setting where the staff and designers explored
the making of self-produced videos on different procedures and
their use in handheld computers. The second project described
focuses on patient learning at a hand surgery clinic where we
explored the possibilities of individualised video training
instructions. In both cases the On the Spot Experiments have
shown fruitful results in different aspects of clinical work and
how the use of content and technology might affect this work. A
key factor has been exploring what relevant content could be. We
conclude by outlining some qualities and limits of doing On the
Spot Experiment

This article is a dialogue across the practices of philosophy and live performance. Martin Heidegger's 1955 lecture 'The Question Concerning Technology' is used increasingly to problematize practices of computational art, in this article his ideas are grounded in the improvisational practices of two art projects: the wearable computing installation called 'whisper' and the performance using 3 different motion tracking and capture systems called 'immanence.' These projects demonstrate an approach to technologies in performance that enhances otherness and the unpredictability associated with improvisation, thereby lending weight to Heidegger's claim that one turns to art to better understand technology because "the essence of technology is nothing technological".

In this article, the author addresses the negotiation and ‘gestaltung’ of space, identity and memory among Jewish and Palestinian Arab youth in alternative conflict education projects in Israel. Various pedagogic devices brought into play at a particular project at the educational centre Givat Haviva are discussed, as well as activities and spontaneous incidents besides the formal programme.